SACRIMA Digital Atlas

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  • “Painting will not tolerate this, it would be against the decorum of the art”



    The participants base their argumentation on the example of the figure of the “Sacrifice of Isaac” which is said to have moved Gregory of Nyssa to tears.

    Conflict
    Blood Capriccio Decorum Representation of bodies
    Mention
    Fabriano, 1564
    Subject
    Christ ; Martyrdom ; Mysteries ; Passion ; St Blaise ; St James ; St Lawrence ; St Sebastian ; St Stephen
  • One cannot receive redemption through saints as the story of Charles Martel and St. Giles suggests



    Molanus criticises depicting the story of Charles Martel and St. Giles because it could give rise to a dangerous error, namely the idea that one could receive redemption through the intermediation of saints.

    Conflict
    Not corresponding to Scriptures Not corresponding with Church teaching/dogma
    Mention
    Leuven, 1617
    Subject
    Mass of St.Gilles
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Paintings should not provoke carnal pleasures



    Molanus argues that impudence in paintings should be avoided since it stimulates carnal desires instead of devotion.

    Conflict
    Indecency/Impropriety Nudity/Obscenity/Lasciviousness
    Mention
    Leuven, 1617
    Subject
    Indecent art
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Idols should not be used as inspiration for engravings



    Molanus condemns images depicting idols and other heretic symbols.

    Conflict
    Heretical image
    Mention
    Leuven, 1617
    Subject
    idolatry
  • The images of the saints are just poles

    Aragon


    The Frenchman Matheo Carreras criticized the saint’s images, stating that those which are in the church “are nothing but sticks”.

    Conflict
    Lutheran
    Mention
    Aragon, 1579
    Subject
    Saints
  • Frontispiece of: Gilio, Giovanni Andrea, Due dialogi (1564), Camerino : Antonio Giojoso

    “And now, because (painting) finds itself full of errors and abuses […]”



    At the beginning of his treatise, Giovanni Andrea Gilio addresses his initial motives for dedicating himself to the subject of artists’ mistreatment of art.

    Conflict
    Ignorance/Negligence of the artist License
    Mention
    Fabriano, 1564
    Subject
    historic painter ; poetic painter ; Religious painter
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    The contemplation of images from antiquity can pull us away from our own sins



    Molanus referes to the contemporary custom of the use of ancient images to contemplate one’s own behaviour and their value for keeping people away from sins.

    Conflict
    Confirmation of iconographic tradition Sacred vs. profane imagery
    Mention
    Leuven, 1617
    Subject
    Ancient images
  • Apocryphal stories about the Virgin Mary and Christ



    Molanus disapproves of artworks depicting apocryphal stories of Jesus and the Virgin Mary.

    Conflict
    Not corresponding to Scriptures Untruthfulness/Not probable/Not corresponding to history
    Mention
    Leuven, 1617
    Subject
    Jesus Christ ; Story of Joachim and Anne ; Virgin Mary
  • The placement of St. Paul on the papal seal



    Molanus argues that the placement of St. Paul on the Papal seal should not rise to quarrel and debate.

    Conflict
    Figurative vs. literal reading Judging art
    Mention
    Leuven, 1617
    Subject
    St. Paul
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Altarpiece depicting the Three Godly Graces in the Egmond Abbey, Holland

    Monastry of Egmond


    Molanus affirms the antiquity of the use of Fides, Spes, and Charitas in painting and gives an example from a monastery in Holland.

    Conflict
    Iconoclasm/Critic to image cult
    Mention
    Leuven, 1617
    Subject
    Three Graces
  • A punishment for having destroyed a “humilladero” and a crucifix

    Aragon


    Luis Rebollo and Juan Cigueba, two Moriscos, were ordered to pay for a new cross

    Conflict
    Morisco
    Mention
    Aragon, 1574
    Subject
    Crucifix
  • On the ornament of painting – The liberty of the istoria



    In contrast to poetic painting, in historical painting, there is almost no freedom.

    Conflict
    Capriccio Decorum Untruthfulness/Not probable/Not corresponding to history
    Mention
    Fabriano, 1564
    Subject
    Crucifixion ; decorum ; historic painting ; ornament of painting
  • A diabolical and profane image of the Holy Trinity depicted with three faces or heads



    While analysing the painting of the Holy Trinity, Pacheco condemned the iconography of it in which a man with three faces or heads is represented, in the manner of Janus or Gerión (Father Martin de Roa), called it as a “diabolical fiction” (Molanus): this iconography made sane people scandalised, as well as the ignorant man commit mistakes.

    Conflict
    Monstrosity/Unacceptable configuration
    Mention
    Seville, 1649
    Subject
    holy trinity
  • Good Thief is painted on Jesus his right hand



    Molanus argues that the good thief has to be placed at the right of Christ.

    Conflict
    Not corresponding to Scriptures Visual tradition/Artistic model vs. written Tradition/History
    Mention
    Leuven, 1617
    Subject
    Crucifixion ; Jesus Christ ; The good thief
  • Images of the Virgin Mary and their importance to popular devotion



    Molanus affirms that the prevalence of certain iconographies is because of their popularity among the common people and that, as long as they do not contain impious elements, there is nothing wrong with this.

  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Artists follow the traditions of depicting Christ, Mary, and Apostles either by studying other paintings or the authorities



    Molanus argues that artists should follow the pictorial tradition set by other artists or study the written sources regarding the subject.

    Conflict
    Visual tradition/Artistic model vs. written tradition/history
    Mention
    Leuven, 1617
    Subject
    Apostles ; Jesus Christ ; Virgin Mary
  • Defamatory playing cards from France

    Catalonia


    Playing cards coming from France, on which there were defamatory figurations of the pope and the church

    Conflict
    Defamation/Derision
    Mention
    Catalonia, 1575
    Subject
    Defamatory playing cards
  • Images destroyed by fire in France

    Béarn


    Conflict
    Lutheran
    Mention
    Aragon, 1589
    Subject
  • Frontispiece of: Gilio, Giovanni Andrea, Due dialogi (1564), Camerino : Antonio Giojoso

    Unapproved sources



    In this part of the dialogue, the participants discuss inadmissible sources that the artist should not use, such as the Infantia Salvatoris or the Acts of Clement. They also instruct the artist not to follow the opinion of the masses, but that of scholars, authoritative and approved authors.

  • How to represent St. George



    Following Molanus’s studies, Pacheco confirms that the saint can be depicted with his armour knight, with the sign of the Cross, the sword, and the spear. Also, in an allegorical representation, painting the saint as a maiden with a lamb, is also possible.

    Conflict
    Mention
    Seville, 1649
    Subject
    St. George
  • Images containing dangerous errors should be banned, such as those depicting the Pope as the Antichrist or the Whore of Babylon



    Molanus reaffirms that in churches no image must be present that could lead to a dangerous error among the uneducated.

    Conflict
    Derision/Blasphemy Heretical image
    Mention
    Leuven, 1617
    Subject
    Antichrist ; Monks ; Pontiff ; Sacaraments ; sheepfold ; Whore of Babylon
  • The Infant Christ should not be depicted naked



    Molanus condemns the artistic practice of depicting the Infant Jesus naked.

    Conflict
    Nudity/Obscenity/Lasciviousness
    Mention
    Leuven, 1617
    Subject
    Infant Christ
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Images of the pagan gods and worldly philosophers are of little use for Christians



    Molanus assesses the usefulness to Christians of images and statues of pagan gods and ancient philosophers and concludes that only in a few cases they are of value.

    Conflict
    Sacred vs. profane imagery
    Mention
    Leuven, 1617
    Subject
    Pagan Gods ; Philosophers
  • The Crucifix is just a stick

    Aragon


    It’s indicated that Juan Guadalid said that the Christians believe in “that” stick because was believed that they worshipped on the crosses that were on the roads, which were made of sticks.

    Conflict
    Morisco
    Mention
    Aragon, 1589
    Subject
    Cross ; Crucifix
  • How to depict the “presentation of the Christ-child in the temple”



    Using one artwork made by Jeronimo Nadal and one painted by Mase Pedro Campaña as examples, Pacheco analysed how to represent the story about the presentation of the Christ-child in the temple.

    Conflict
    Mention
    Seville, 1649
    Subject
    presentation of the Christ-child in the temple